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ASBS 01/16 | NO. 38

January/February/ March

Germany 6,90 €

Europe 8,10€
International US-$ 1 1,00 (RRP)

ISSN 2192-3892

198937

206902

0 1

BEE ILLUSTRATION

Painting fur differently

UNIQUE: H & S Build an airbrush I NEWS: Paints for modelling and temporary tattoos
PORTRAIT: House, M.D. I PHOTO GALLERY Airbrush Show Grefrath and Prague Car Festival

SRURMAX

The New

ARISM

MINI

~ggr|

AIRBRUSHING

'w Xv |\ * *

www.SPARMAXair.com
compressors & airbrushes

NO.A50828I5

EDITORIAL

■ Bye, bye 2015!

Alas, another year is nearing its end. This issue provides you
with just the right motifs for Christmas and the wintertime:
Our cover motif invites you to the fairy tale world of Little
Red Riding Hood, artistically interpreted by Rico Pahlig. The
work of young up-and-comer Clarisse Pico tells of her child-
hood dream of snowy landscapes and historical locomotives.
Speaking of dreams, Jason Hulfish's work deals with mak-
ing them true. The American is a specialist in extraordinary
living and spatial area designs with which he also fascinates
the viewers of the TV show "Extreme Makeover: Home Edi-
tion".

Another focus of this issue is on the two beginner topics,
which give primarily beginners a good bit of material to
chomp at: South African Andre van Wyk designs his nation's
flag in a simple, but effectively brilliant manner. Using a
whole bunch of masking work and an intensively organized
procedure, his work is exemplary for every beginner. ASBS
chief editor Roger Hassler goes about explaining the tricks
of the trade with wooden structures in his texture series.

CONTENT

STEP BY STEP

04 Childhood Dream

Winter landscape

Clarisse Pico brought her childhood dream
of snow and old train tracks to life.

24 House, M.D.

VIP portrait

With transparent paints and high sensibility
for color values, Andrea Panaro rendered
this VIP portrait.

30 Buzz, buzz, buzz

Bee illustration

Marcus Eisenhuth is painting an unusual fur bearung
animal. The bee's „fur" demand a great deal of pre-
cision with a paintbrush, scalpel and electric eraser.

42 Squalo

Painting miniatures

Angel Giraldez turns a 28 mm sized plastic

miniature into a realistic SciFi war machine.

Some may then ask: What's going on next year? No fret, a
whole lot of exciting, new basics and topic-related series await
you in 2016. A number of new and old step by step authors
are already at the starting line. In addition, it's our birthday!
Airbrush Step by Step is turning 10.

Get yourself safe and sound into the new year! We'll be seeing
you soon!

Your ASBS Team

52 Little Red Riding Hood

Fabulous portrait

With his own picture material, photographed with
a mocel, Rico Pahlic creates his own fairy tale world.

BASICS

14 South Africa

South African Andre van Wyk paints a great
artwork of his home country's national flag.

Airbrush Step by Step: Release Dates 2016

02/16 March 31
03/16 June 30
04/16 September 29
01/17 December 22

62 Wooden structures

Roger Hassler shows you how to make use oft he
loose stencils technique to present wood.

INTERVIEW

47 Jason Hulfish

Home Improvement Extreme
By airbrush, woodwork and foam sculpting, the
American artist makes home decoration dreams
come true - even on TV.

CLASSICS

News

Paints for every surface & custom made airbrush devices.

Readers' Gallery

Simply beastly!

Scene /Events

Airbrushing in Czech Republic and The Netherlands.

Shopping Guide

Supplies for a new year of art.

Preview

Hot guys and sexy dolls!

01/16 E AIRBRUSH STEP BY STEP

G/uialkood Skeam

'/////// STEP BY STEP | Childhood Drea

Snow and old train tracks fascinate both young and didn't spare any details in the process,
and old - and the same is the case for young Particularly impressive is the perspective compo-
artist Clarisse Pico. With this wintertime work, sition of her picture,
she's brought a personal dream of hers to life

AIRBRUSH STEP BY STEP 01/16 E

Childhood Dream | STEP BY STEP

EQUIPMENT -Childhood Dream

Airbrushes: Hansa 381 chrome, Iwata High Performance plus

Paints: Pro Color (Graphite Transparent), Schmincke Aero-
color Professional (Sapphire Blue), Createx Colors (Black
Opaque, Transparent Sand, Deep Red Transparent, Deep
brown Transparent, White Opaque), Wicked Colors by
Createx (Detail white. Crimson), Molotow One4all refill (No.
117, 009, 115), Aeroflash Color (Burnt Umbra transparent)

Surface: Schoellershammer 50cm x 70cm, 250g, 4G

Additional materials: Schmincke colored masking film,
scalpel, painting paper, electric eraser, eraser blue/red,
Burmester stencil, eraser pencil Faber Castell Perfection,
absorbent cotton, absorbent cotton swab, round brush
size 2, 4, 6, Faber Castell colored pencil black, sponge

/\^ Rough draft

w I I Like a real locomotive, this picture is also based on a skeleton. It's a very
detailed sketch that includes as many small details as possible. Afterward, I cover
the entire locomotive and its wagons with masking tape such that I can begin with
the background worry-free. Something that will prove to be a very difficult aspect
in this picture is getting the right perspective. You really have to keep an eye on the
vanishing point, something that you should envision as situated somewhere out-
side of the picture. You can easily draw in little guidelines for assistance if you feel
you need to. If you observe that you've got the correct proportions, then a 3D ef-
fect is quickly established: The locomotive is the largest object and immediately draws
the viewer's attention. The wagons get smaller and smaller, establishing the picture's
"main dynamics". You've also always got to keep an eye on the size of the "secondary"
picture elements. If they remain the same size, then the locomotive might as well be as
perfectly done as possible... but the entire picture remains flat and just plain false.

I Mix the tree/snow colors

I Now I can direct my attention to the landscape in the background.
For this, I begin with the largest trees that are closest to the observer. Since
everything takes place in a really cold, snowy landscape, the trees have to be
heavily covered with snow. At this juncture, I am primarily working with a
round paintbrush, a sponge, and three to four various gray tones. I suggest
mixing several reserves full, because we'll continually be making use of these
paints:

1. An "almost black" color in which 2-3 drops of black are mixed with the Trans-
parent Graphite from Pro-Color.

2. A gray in which I mix only one drop of black into the graphite.

3. Graphite pure, just as it comes in the bottle.

4. A light gray that consists of white with 2-3 drops of graphite. Since the
graphite is transparent, it gives the white just a light darker nuance.

0*3 1 Trees anc * snow

Jl I first begin by painting on the darkest parts of the trees with the
tip of the paintbrush. While the paint is still wet, I use the somewhat lighter
color and also move very lightly into the shady areas. There, I dapple the
paint more so that I can create the first fluffy structure in the snow. I proceed
with the other colors in exactly the same manner. I work from the darkest col-
or to the lightest and make sure that the individual paints are still a bit wet.
When they are, you can combine and mix them much more easily. On the
picture to the left, you can very well see how I've created the darker spots. On
the picture to the right, you can see how I've created the fluffy snow with the
white-gray paint mixture. What's important is that you just dab it on. But
the airbrush is also made use of. After all, the trees are - despite everything -
not purely white or grayish. Due to the light that I want to create in this
picture, they have a light brown glimmer. For this, I use Transparent Sand from
Createx and only spray a very light bit of paint, since we don't want to "smutch"
the snow.

01/16 E AIRBRUSH STEP BY STEP

7////// STEP BY STEP I Childhood Dream

Atmospheric

perspective

I continue with the other trees much
like with the initial two trees. But
there's something very important to
observe here: Since these continue to
get smaller, because they get further
and further away from the viewer,
they also get lighter, and the details
are less and less clear. Here as well,
I only dash the individual layers of
paint - with the only difference be-
ing that I only use the lightest paint
mixtures for the trees that are the
furthest away (thus, not the "almost
black" color).

f\n\ Smoke

w JlThe smoke created by beau-
tiful old locomotives almost cov-
ers the entire sky and the tips of the
trees. The airbrush is made full use of
here. To make sure the smoke melts
away to the right half of the picture
with the dark sky, receiving its typi-
cal structure and color, the basis color
and structure must be in accordance.
For this, I use a paint mixture out of
Aeroflash Color Burnt Umbra (app.
2-4 drops), Createx Colors Sand, and
a few drops of Pro Color Graphite
Transparent. It's best to mix enough
of this mixture, because we'll need it
again later. With this color and the
airbrush, we create the first curva-
tures and shading. These are cre-
ated through quick circular move-
ments. Some forms of smoke are only
possible with quick movements be-
ing generated from the wrist, like big
commas.

/\/? I Deta ^ s unc * Highlights

^/wlFor the finer forms, you get very close to the subsurface and only
use a little bit of air. You should also take a look at ensuring that, at the begin-
ning, the paint isn't applied too thick and as such, too dark. It's best to do in
a way that you can just barely still see the white of the paper. Darker colors
are set-up and established bit by bit. For the remaining structures that show a
somewhat "shredded" form, I use toilet paper and cotton balls, both of which
I've given fringes to by ripping them up a bit. Next, I get to the highlights
in the smoke. These are created with the scalpel (for the particularly fine high-
lights) as well as with the white side of the Faber Castell Perfection (for the
bigger surfaces).

AIRBRUSH STEP BY STEP 01/16 E

Childhood Dream | STEP BY STEP

f\"l I Embedding colors

\ J # I And now we're getting to
the funny part: After having finally
finished off all the highlights with a
boatload of long and hard work, these
are all covered up again. But don't
worry! We'll also be using transpar-
ent paints here so that you can still see
everything. The hues and color values
will be better integrated and create
more depth. As a first color, I use my
transparent sand paint, applying only
a very thin layer here. Coming after
that is the One4all No. 117 refill from
Molotow, which I spray over the entire
picture. This is how the trees are are
inserted throughout the remainder of
the picture. After I've enhanced a cou-
ple of highlights (you can feel free to
work on some that were already cre-
ated), I spray another layer of Molotow
One4all No. 009 refill when done - but
only above the smoke here too.

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STEP BY STEP Childhood Dream

f\0 I More highlights

wO I Seen as such, creating the
smoke is a constant cat and mouse
chase of creating highlights and then
covering these with transparent paint
until you've got the desired depth ef-
fect. On these pictures, you can see
that I establish the highlights by also
using the electric eraser (for the larger
and sharper surfaces) as well as with a
Q-tip and a little Wicked Detail White
(for the fluffy effect).

A V

J iV

f£M

/\Q i Light box

I Now it's high time to begin
working on the locomotive. I begin
with the smokestack and the light box
in the front section of the picture by
pulling down the masking film a bit
and covering up the area around that
with painting crepe. With that, you
don't need to have any fear of over-
spray creeping into the background.
The base color of the locomotives is
once again my beloved Transparent
Graphite, which becomes heavier due
to the layers that are applied one after
the other and thus, also becomes dark-
er. Transparent paints are wonderful,
because you can maintain control of
them very easily, especially when it
comes to the intensity of the paint.
With that, a wonderful depth can be
created, since the previously estab-
lished highlights are not completely
covered up. On these pictures, you can
see exactly this effect very well: First
a layer of paint, then highlights, and
then once again paint on top of that.
On certain points, the paint becomes
particularly concentrated, such that
the really dark areas are generated. I
establish highlights using the scalpel
and then the white side of the Faber
Castell eraser pencil again.

AIRBRUSH STEP BY STEP 01/16 E

Childhood Dream | STEP BY STEP

4 A I Boiler

I I now move up to the front
portion of the boiler. I continue work-
ing here like I did before. Smaller ar-
eas that need to be protected from
paint are hard to cover up with the
film. For this. I've discovered a new
love: The colored fluid masking pen
from Schmincke. It is an absolute must
when it comes to particularly small
or complicated areas that have to be
covered up. This can also be used on
an already painted surface free of
problem, because the paint beneath
it is not attacked. It is applied to the
desired surfaces with a paintbrush just
like normal paint. Here you can see
how the masking film looks once dry
(blue color).

^ ^ I Wheel base

I I I At this point, you can see
how I've removed the masking film,
covered up the exterior areas, and re-
fined more and more locomotive de-
tails. In all of the steps up to now, I
haven't used black a single time. But
don't worry - black will come into play
soon enough.

01/16 E AIRBRUSH STEP BY STEP

7////// STEP BY STEP I Childhood Dream

^ I The base color of
I ^ I the locomotive

In this row of pictures, you can see
how the locomotive was completely
painted (please make sure you apply
the base color evenly). I first applied
some more masking film onto the
previously applied paint. Afterward, I
scrape the first areas of the masking
film with the other end of the scalpel
(naturally not the sharp side). Before I
completely remove everything, I grab
my airbrush and Black Opaque from
Createx. Here you've got to proceed
carefully to create as little overspray
as humanly possible. I really only use
this color for the absolute darkest ar-
eas of the locomotive, such that the
depth of the individual parts is once
again enhanced.

Si "3 I Rivets, screws & pipes

I J I With the tip of a very sharp
scalpel, I establish the initial rivets and
screws as well as a couple of highlights
on the pipes. Here I use the flat side of
the scalpel. You can also use the eraser
pencil, although only the white side is
actually capable of having much of an
effect. With the scalpel, you can main-
tain a strong control of the intensity of
the highlights: The greater the pres-
sure, the stronger the highlight will be.
With a very well-sharpened black col-
ored pencil, I touch up and perfect the

especially fine dark areas. I personally love using several materials, because with
that, the picture is given even more dynamism.

1 A I Pa * nt

I I Now our locomotive gets its first coat of paint. For this, I mix a special
color hue. I make use of Wicked Crimson as a base color, where I then mix in
app. 4 drops of Transparent Deep Red from Createx and a drop of Opaque
Black. With this paint mixture, I color certain areas that I picked out in ad-
vance. For small and very fine spots, you can usually also use a thin paintbrush
when you're not so certain about using your airbrush.

AIRBRUSH STEP BY STEP 01/16 E

Childhood Dream | STEP BY STEP

*1 r I Texture

I J I After I'm finished with the red areas, I get back to the highlights and
the special structures in the locomotive. For this, we once again need the su-
per sharp scalpel and the electric eraser. The locomotive is built and formed
by hand. That's why we should be able to see typical traces of wear and tear
from hammers and other tools. For this, I take the electric eraser and tap on
the painting surface with quick movements so that the background is hardly
touched. I keep jumping between the thin, sharp edge of the eraser and its very
flat and wide surface. This leads to different "traces of wear and tear". For the

screws and rivets, we go back to using
the scalpel. For additional highlights,
I once again use the white side of the
Faber Castell eraser pencil.

1 I Wagons

I I It's now time to prepare the
wagons for the guests. Using paint-
ing paper, I cover up the entire surface
and make a few final corrections so
that the perspective is 100% correct.
I then carefully cut out the individu-
al areas, which are painted in their
typical color one after the other. To
begin, I start off by using the same
red that I also used for the locomo-
tives, but add another drop of black.
For the area in which the windows
are located, I create a priming with
an Opaque White from Createx. Af-
terward, I spray over this with the
airbrush using Molotow One4all No.
115 refill until everything is evenly
covered. Then the entire masking film
and the painting paper are removed,
and the final details such as the
windows and doors are created with
the paintbrush. Shading and shad-
ows are added with graphite and
transparent dark brown from Createx
while highlights are built in with the
scalpel.

01/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Childhood Dream

#Vj

^ ^ I Smoke

I # ll now start working on the
typical locomotive smoke. We estab-
lished the foundation of the smoke-
stack and the rear area of the dark
cloud at the beginning. Now we're
going to deal with the powerful
smoke for which I first take a sponge
and Wicked Detail White, dabbling it
in irregular intervals and soft, round
movements onto the subsurface. It is
important that the movements are
made from the left to the right, since
the train's flow of air moves in this di-
rection. We then need the same gray
hues that we used at the beginning
for the trees. As was the case with
the trees, we also start here with the
darkest paint, creating the first dark-
er shading and then using paints in a
lighter and lighter sequence. Once the
basic structure is created, the initial
paint comes into play.

1 Q I Coloring the smoke

I O I Here I once again make use of
Burnt Umbra and my airbrush. I then
begin to brush from the smokestack
onwards. Explained simply: The spots
that were previously dark gray are
colored over with Burnt Umbra. For
the darkest spots in the smoke, I use
Createx Transparent dark brown and
a drop of black so that an even darker
brown and a perfect paint is generated
for the shading in the smoke. I then
take Molotow No. 117 again and spray
over the entire smoky area so that the
brown paint doesn't come through too
strongly and is weakened a bit. Regard-
less of whether you now begin creating
things with the sponge or the details
with the airbrush: You always have to
make sure that when creating the en-
tire field of smoke, you use circular
movements and always work in one di-
rection.

1 Q I Fore 9 rour| d

I ^ I To conclude, I turn to the foreground. We'll want to have a real cold
snow landscape here too and I go about creating this with a sponge and paint-
brush. Here I also make use of the now very well-known gray hues. It's still im-
portant that everything located in the foreground is more detailed and what's
further away is less so. For the scattered snow, I take my sponge and a little bit of
white paint and create this with quick movements in the direction of the airflow.
Always make sure that everything is pointing in one direction and that you work
from dark to light.

AIRBRUSH STEP BY STEP 01/16 E

Childhood Dream | STEP BY STEP

jr.

HtfML

*yf \ I Cold effect

I Once I'm happy with the land-
scape, I brush a thin layer of white over
it so that the areas previously brushed
with a paintbrush don't have such a
hard effect and the snow has a more
scattered, blown look to it in some ar-
eas. At the end of things, I spray a thin
layer of Aerocolor Sapphire Blue over
the entire plain of snow and trees,
effectively creating the final effect of
the cold. Any and everyone who has
already seen snow and ice knows that
a blueish shading is generated by light
refraction.

^ SI I Finishing up

I I Shortly before finishing the
picture, I give the locomotive and the
wagons a couple more icicles and snow,
that obviously have been created by the
cold and the wind. Some small correc-
tions can be taken care of now too. If
everything is perfect to your taste, then
its time to sign your masterpiece and
frame it. I hope you've had as much
fun as I have in creating this childhood
dream and I also hope I was able to give
you a useful tip or two along the way.
An instructive video for these pictures,
which goes into better detail in clarify-
ing what to do with some of the more
tricky challenges, is ready for viewing at
the ASBS download center.

CLARISSE PICO

Clarisse Pico alias Clarissa Stoica has been working as a freelance artist since 2010. She
began with black-and-white pictures, but in the meantime it's strong colors that have
become her trademark. She works with a mixed technique, especially enjoying the com-
bination of brushes, colored pencils and airbrushes. Above and beyond this, she's made a
name for herself as a leather and textile artist, having created unique works of art of high
quality - to be worn.

Q www.nomen-inextinctum.de

01/16 E AIRBRUSH STEP BY STEP

South Africa

In April of 1994, the Republic of South Africa true to the many different ethnic groups and
decided on a new flag. The Y-formation with cultural influences of the country. South Afri-
the green stripes in the middle symbolize the can artist Andre van Wyk has his home country's
country's unity upon the end of apartheid. The national flag waving in a simple, but very
interpretation of the colors should otherwise be aestethic manner
left to the observer. But it nonetheless remains

AIRBRUSH STEP BY STEP 01/16 E

EQUIPMENT - South Africa

Airbrush: Iwata Eclipse HP-CS

Paint: Com-art Opaque Payne's Grey, Opaque Deep Red,
Transparent Ultramarine Blue, Transparent Moss Green,
Transparent Cadmium Yellow, Medium/Transparent base

Surface: Illustration board

Further materials: Artool Stencil "The Bird", frisket, Olfa
AK3 knife, Saral Artists Transfer paper

Reference photo

w I Source your desired photo or
take one yourself. Size, crop and print
it out the size you would like to paint
it.

f \ Tracing the image

wfc Using graphite paper, trace
your image. If you are not able to print
it the size you will be painting it or it
will be on a curved or uneven surface,
then draw it as good as you can with a
removable pencil.

f\ *3 Line drawing

This is basically what you will
be left with. I also drew in some of the
folds with dashed lines. This will distin-
guish between cut lines and folds. The
more the dashes are spaced apart, the
softer the edge. Keep the reference
nearby, you will need it throughout
the painting.

0A| Folds

Using an opaque Payne's Grey
and mixing it 1:4 with medium (paint:
medium), you start filling in the folds.
I've found that Payne's Grey makes a
cooler black than regular black that
tends to turn brown when you reduce
it.

01/16 E AIRBRUSH STEP BY STEP

r'l C Freehand stencils

J Some lines have hard edges
so you should use a shield. In this case
I used "The Bird". You can also use a
second printout and just cut the shield
from that. Continue with all the folds
keeping an eye on the reference.

AIRBRUSH STEP BY STEP 01/16 E

South Africa | STEP BY STEP

Yellow

I The yellow is a transparent
yellow so you will not need as much
medium as what the opaque grey
required. It is a 1:2 (paint:medium)
mixture. Start building it up till you've
reached the minimum value as per your
reference. You can then build up the
other values as per your reference. Go
over the grey blends so that you can
shift their colour from the grey to a
dark yellow. Remember to keep your
highlights clean.

flQ Blue

Cover the colour you've just
done and open the next. In this case
the blue. If you are confident that
the paint is dry you can use the fris-
ket mask you removed earlier. But you
have to be sure to put it back perfect-
ly as you might get overspray if there
are any gaps. With the blue being a
darker colour then the yellow, you re-
duce it more. In this case it was 1 paint
to 3 medium. Start building up the
whole surface to the minimum value
on the reference. Again, fill in the
darker bits and colour the grey shad-
ing.

Red

Iv Repeat the process with the
red. Although the red is an opaque
paint, it is not very strong so a 1:1 mix-
ture of paint and medium was fine.

01/16 E AIRBRUSH STEP BY STEP

^ ^ Green

I I Again, repeat the process
with the green. The green was mixed
with a bit of yellow as well. So it was 2
parts green, 1 part yellow and 4 parts
medium.

Black

Last step is the black. In the
reference there is no detail in the black
so you have to make it up. Remember,
here you are using opaque grey so re-
duction will be more but not as much
as in step 5. Use a 2:5 mixture. Again,
cover the whole area and darken the
shadows.

ANDRE VAN WYK

44 years old Andre van Wyk is a graphic designer from Johannesburg, South Africa.
After seeing airbrushing done by signwriters, he became an apprentice signwriter in
1991. He tried his hand at airbrushing but gave it up and pursued a career in com-
puter graphic design instead. In 2011 he decided to try again and in 2013 while on
holiday in Europe, he attended a portrait course with Marissa Oosterlee at Foxy
Studio in The Netherlands. Since then, he has been painting portraits in his spare
time.

Q www.airbrushworks.wordpress.com

AIRBRUSH STEP BY STEP 01/16 E

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Harder & Steenbeck, the airbrusher
now has the opportunity to make
use of an online configurator to se-
lect amongst 3648 possibilities. We
put this new airbrush option under
the microscope and gave it a good
little look-see:

You can use the airbrush configu-
rator around the clock to put to-
gether your individual device. The
customer can select between vari-
ous nozzle sizes and paint cups.
The basic parts consist of the well-
known Evolution and Infinity device
components. These have been en-
hanced with additional color varia-
tions and of the airbrush body the
end piece. All in all, in addition to
the chromed variation, seven ad-
ditional colors (black, red, blue,
gold, gray, orange, and purple)
are available. You can also select
various levers, middle section, and
quick fix options. To conclude, you'll
also be asked about individual
wishes for a laser engraving and the
etui.

Putting together the device with the
configurator is easy to do and the
desired configuration is displayed
in real time - with a view from the
side and from above. For the laser

engraving, the customer has the op-
tion of selecting from three basic
typefaces. A red accentuation shows
when the maximum amount of let-
ters has been surpassed. Here you
have to try things out a bit until you
have your desired text. For an opti-
mal individualization, the typefaces
could be made a good bit more opti-
mized and enhanced with additional
fonts.

Depending on which configuration
you decide on, there are three price
classes. Price class 1 costs 165 EUR,
price class 2 costs 195 EUR, and price
class 3 costs 215 EUR. If you, for ex-
ample, select a colored airbrush
model made of aluminum instead of
a chrome-plated model, you move
from the 1st price class to the 2nd.
If you then also select an open end
piece, the configurator jumps - like
with our test model - into the high-
est price class 3. If you like the se-
lected assortment, just click it into

the purchasing basket and head to-
wards the checkout line. Harder &
Steenbeck accepts pay via advance
payment, per Paypal or per Amazon
payments. The delivery is made as a
UPS package within three work days
after payment is received. With that,
even short-term, individualized gifts
are possible.

For our test order, the device arrived
at our office in a securely packaged
box. Due to the selected base com-
ponents, there was a general Infin-
ity instruction manual, a tool for
loosening the middle section, the
needle protection cap for the fine
line nozzle set as well as a lid for the
paint cup. The laser lettering has a
white/pastel beige look on the black
airbrush frame. The selected font
is fairly large and somewhat bulky,
but as such, it's clearly legible. At
least it will never be mixed up with
a colleague's device. The airbrush
has the usual fine spraying pattern

AIRBRUSH STEP BY STEP 01/16 E

AIRBRUSHNEWS

EQUIPMENT

of a 0.2 mm Infinity nozzle. With
the Quick Fix on the open end piece,
the artist has the opportunity to
limit the lever and with that, to set
a desired line width. If you no lon-
ger need the pre-set lever delimita-
tion, you can rescind the setting by
pulling back the Quick Fix unit. With

the level adjustment screw freely
accessible in the handle piece, you
can - when necessary - adjust the
sensitivity of the trigger. The fine
line cap serves as a needle guard
and, when cleaning the device, al-
lows you to access the needlepoint
without a prior unscrewing. For

those who already own Harder &
Steenbeck devices, can also further
individualize his or her "build an air-
brush" device at home and enhance
it with available components.

£ www.build-an-airbrush.de

Createx TC 20C: The Priceworthy Beginners Compressor

A priceworthy begin to the world of
airbrushing can be enjoyed by airbrush
users with the high performance oil-
less reciprocating compressor Createx
TC 20C. The compressor is delivered
with a 1.80 m textile hose featuring
a 1/8 "inch connection on both sides.
The compressor is equipped with im-
portant features such as a pressure
reducer, moisture separator, and an
automatic shut-off function. The TC
20C has an output rate of 23-25 liters
with a maximum of 4 bars, such that

- depending on the side of the nozzle

- at least 2 bars are available. The unit
weighs 3.5 kg and is great for mobile
use. Thanks to the four rubber feet,
it is very secure and also very quiet
for this product category, coming in
at 45 dB (A). The TC 20C is available
in specialty retail airbrush shops for
133.77 EUR RRP.

Q www.createx.de

01/16 E AIRBRUSH STEP BY STEP

AIRBRUSHNEWS

PAINTS

Badger Minitaire Paints for Table Top Figures

Minitaire Airbrush Acrylic paints from
Badger Air-Brush Co. have been avail-
able in retail stores for some time now.
These special paints are especially in-
tended for artists who f d like to paint
table top figures or other miniatures.
The paints can be used right from
the bottle and make it possible to
establish a very fine paint applica-
tion without dripping off. In addi-
tion, the paints can also be applied
with paintbrushes and diluted with
water to establish even more effects.
A paint palette of 80 paints specifi-
cally coordinated to meet Wargamer
standards allows for a wide variety of
designing possibilities, from monsters
to battleships. Amongst the 80 paints
are 12 transparent so-called ghost
hues, which make extremely delicate
colorings possible. The paint comes
in 30 ml bottles. The bottles are re-
inforced with an evaporation protec-
tion such that the paints don't dry in
the warehouse. In addition, there are

3 sealants and a drying inhibitor in
the Minitaire program. Also available
is a starter set with 12 paints and the
Ghost Set, also featuring 12 paints.
The paints and mediums are available

for purchase in airbrush specialty re-
tail stores.

g www.minitaire.com
g www.intl-trade.eu

Createx for the Skin: New Tattoo Paints

Createx Germany is enhancing its
paint assortment to include paints for
tattoos and as such, is offering air-
brushers a paint that can be used on
the body. Createx Tattoo paints are
available in classic black and yellow,
red, green, and blue. According to
the manufacturer, the paint can effec-
tively remain on the body for 2 to 7
days, depending on the skin type, area
of the body, and usage. The paint has
an alcohol base, is quite watery, and

can be processed with 0.2 mm nozzles.
If you're not happy with the results,
the tattoo can be easily washed off
the skin with isopropyl alcohol. For
cleaning your airbrush device, Cre-
atex Tattoo Cleaner is recommended.
For optimal results and longer sustain-
ability, one should make use of the
Createx Tattoo Powder, which is ap-
plied with a paintbrush or with fin-
gers. The colors yellow, red, green,
and blue are available in bundles

30 ml (14.90 EUR) and 60 ml (25.89
EUR) bottles. Black is available in 30
ml (14.90 EUR), 60 ml (25.89 EUR), 120
ml (35.90 EUR) and 960 ml (219.50
EUR) units. The Createx tattoo cleaner
is available in 30 ml (5.75 EUR), 60 ml
(7.34 EUR), and 120 ml (9.84 EUR). A 40
gram bottle of Tattoo Powder can be
purchased for 9.29 EUR.

g www.createx.de

AIRBRUSH STEP BY STEP 01/16 E

AIRBRUSHNEWS /******

PAINTS

Schmincke Bronzing Paints: For Refining Motifs

For a touch of gold, silver or copper,
you need look no further than the new
acrylic bronzes from Schmincke. The
brilliant aqua bronzes with solution
are perfect for dampening paintings
and bronzing. The paints are ready-
for-use and can be made use of for
effects on acrylic pictures and other

fat-free surfaces such as paper, wood,
metal, plastic or plaster. Mixed with
water, the paints can also be sprayed
with an airbrush. This is how transi-
tions and glossy shadings are turned
into precious metal optics. The bronze
paints are available in five color hues
(silver, copper, pale gold, rich pale

gold, and rich gold) in bottled carrying
150 ml. Schmincke bronzing paints are
available for purchase in artist goods
and specialty airbrush shops.

Q www.schmincke.de

ACCESSORIES

Mixing Technique Assistant: Water-based Colored Marker from POSCA

When it comes to small, fine details or
filling in a quick, hard-edged surface,
then it f s time to think about using a
colored marker. The markers from
the French manufacturer POSCA are
an excellent addition to the paint
world of airbrushing and adhere to a
number of various porous surfaces -
from canvas to textiles to glass and ce-
ramics. All of the paints can be mixed

and diluted with water. They also cov-
er each other in an opaque manner.
POSCA delivers 7 various widths from
0.7 mm to 15 mm. The color spectrum
consists of over 40 opaque colors, in-
cluding 8 metallic and 6 neon color
tones. Depending on the subsurface,
the paints can be fastened for per-
manent creations in various ways
and manners i.e. with clear varnish. A

corresponding guideline is delivered
by POSCA with the product. The prices
begin at 3.30 EUR for the fine liners
and range up to 11.45 EUR for the
widest pencil tip. The pencils are avail-
able in creative ware businesses.

Q www.posca.com

01/16 E AIRBRUSH STEP BY STEP

For 177 episodes. Dr. Gregory House made some connected to House, M.D. across the planet. Ital-
of the most astonishing diagnoses, put down all ian airbrush artist Andrea Panaro created a head
sorts of patients and their family members, and profile portrait of Dr. House and did so with the
drove his colleague absolutely crazy. The face same precision as a physician making a diagno-
of the British actor Hugh Laurie will forever be sis.

24 I AIRBRUSH STEP BY STEP 01/16 E

House, M.D. | STEP BY STEP /******

EQUIPMENT -House, M.D.

Airbrush: Iwata HP-CS

Paints: E'Tac Burnt Umber, Brown, Skin Tone, Light Blue,
Black, Red, Yellow

Time: 6 hours

Surface: Illustration board

Further materials: Grey scale, scalpel, paper, white Stabilo
pencil, electric eraser, pencil, computer, mobile phone,
printer

f\A Line drawing

w I In this step I have seen professional airbrush painters behave in differ-
ent ways. Some use graphite paper and some carbon paper. I think that there is
no fixed rule. I think we should use the one that leads to the best results in the
long run. I have always preferred to use the same image (printed on normal pa-
per) shaded with the lead of a pencil on the back. In line drawings, I try to pick
as many details as possible (wrinkles, folds and shadows). This particular phase
takes a long time but taking shortcuts right now would mean losing quality in
the final image.

Values

\J^ What people generally forget to do is to fix the darker areas of the por-
trait first. The best way to do this is to convert the image from color to black and
white. Then removing the saturation will be much easier to frame the dark areas.
With a normal greyscale I measure the value/intensity of the shadow and I note
on a piece of paper the corresponding number so you can have a reference dur-
ing the shading. This is probably the most important step.

Hues

Because what people don't
understand is that the target of the
skin color is not as much important as
the position of the shadows and their
value.

f\A First shading

T After marking with a dark gray eyes and nostrils I don't remove
the reference image, but I am using it for flipping. What is flipping? It is a
technique based on the image that "imprints" on the eye's retina, when we
focus intensely on a photo. When we are looking immediately on a white pa-
per sheet afterwards, we realize that for a few seconds, we can see the im-
age on the white paper. So while leaving the print above the drawn portrait I
flip up and down the original figure repeatedly. This gives me the opportunity
to perceive easily where the darker areas and the lighter that currently
shouldn't be airbrushed, are positioned. At this point I start shading with
the airbrush loaded with a medium brown tone and extender.

01/16 E AIRBRUSH STEP BY STEP

0***^ STEP BY STEP | House, M.D.

/\ r Hair, eyebrows and beard

w J For the realization of the hair,
eyebrows and beard, I use an electric
cable devoid of the sheath that cov-
ers the copper wires. I position it on
the portrait modeling the wire and
with a very low pressure going to veil.
This makes some hair texture. This
will serve to give me an overall view
of the project.

Shading

w Now I start adding one or two drops of burnt umber and medium and
proceed to make the shadows darker. After that I start with a skin tone and be-
gin to veil.

©SUPER-TIP!

If you are not sure or afraid to darken too much, you can use
w # this simple technique: Take the piece of paper with notes of val-
ue shadows (step 2). Take the gray scale and place value on the airbrushed
shadow. Take your mobile phone, take a picture and with a simple applica-
tion that converts the image to black and white, it can be immediately re-
flected and you can see if the shadows are to dark or to light.

/\Q Highlights /Texture

w O After the skin tone, I proceed
with an electric eraser removing the
color from areas in full light. I am add-
ing highlights close to wrinkles and
create the effect texture of skin pores.
Now is the moment to do the beard. I
paint white hair with a white Stabilo
pencil, rendering "small commas".

AIRBRUSH STEP BY STEP 01/16 E

House, M.D. | STEP BY STEP /******

f|Q E y es

w ^ I apply the skin color on the
scope of the white part of the eye, cre-
ating the sphericity. Next I am veiling
the iris with a slightly colored blue. Do
you remember that we applied some
gray in step 1? This helps me to easily
reach the targeted value with the final
color. I take the electric eraser and I
create the texture of the iris. The rub-
ber has to be very sharp.

in Lips

I I load the airbrush with a me-
dium brown adding a few drops of
black and red. I start to split the lips.
This can be done free hand or you can
use simple loose masks to get clean
lines without overspray. I also add the
vertical folds of the lips and I empty
the airbrush, but I don't wash it. I put
1 drop of skin tone in the dirty cup,
mixing all together with a few drops
of extender and start to veil the lips.
After this I take the electrical eraser
creating the lights that will be veiled
with the same color on the edges to
give sphericity.

^ ^ Contrast

1 I The same color that I took to
split the lips is been used to create ad-
ditional contrast. I'm going to darken
the hair, the beard and the eye. We
are near the end of the portrait, but
we have not finished the real color
yet.

01/16 E AIRBRUSH STEP BY STEP

0***^ STEP BY STEP | House, M.D.

^ ^ Eye ball

I What I do not like to see is
the annoying white colour of the pa-
per in the eye. I take 3 drops of white
and dirt with a hint of black, cover
the iris with a stencil and spray the
rims slightly gray. Using the skin tone I
give again the sphericity and with the
dark tone of step 8 define the depth.

^ ^ Jacket and shirt

I At this point I create a blue sky
and begin to color his shirt. I add the
dark blue to give the shadows of the
folds, then I take a dust cloth, which
was already used in the pre-painting
phase. I unfold it and use it as a stencil
to do the texture of the jacket.

A A Finishing touches

I ™T The portrait can be consid-
ered almost finished. The last phase
is very delicate. With the printed im-
age color reference I try to intercept
the red areas. I will use a drop of red
and extender and I am covering areas
with the very diluted paint where I
think more presence of red is needed.
I use the same technique with orange
and yellow.

AIRBRUSH STEP BY STEP 01/16 E

House, M.D. | STEP BY STEP /******

A r Background

I The background is usually
done in the first phase, but this time
I do it at the end. I get the mask that
I used for the flipping and with the
yellow color I do the last glazes. Hav-
ing reached the end I want to thank
my friend Professor Zsolt for support-
ing me all these years and I dedicate
this article to my mother Piera (always
proud of my art), who died in 2013.

38 years old Italian Andrea Panaro started his airbrush passion in 2000. It soon became
his job. In his company Dia Design he customizes any kind of surface, generally Harley
Davidson, custom bikes, racing helmets, guitars and bicycles. In the last five years he got
interested in photorealism, perfecting his technique by taking part in a course with Ma-
rissa Oosterlee and Carlo Tedesco from the Foxy Studio. Since then, he has been creating
many portraits in his artworks.

Q www.aerografie.it

Not only for collectors!

//Airbrush Art Magazine

The airbrush magazine of
the 90s and 2000s!

■ Artist profiles ■ Gallery

■ Step by Steps ■ Tips & tricks

In English, Italian, German
and French!

Bargain-sale now at the ASBS online store:
www.airbrush-books.com

7////// STEP BY STEP | Buzz, buzz, buzz

Wolf, Tiger, Dog - they are the most popular
practice objects for airbrushers when it comes to
the topic of fur. Berlin-based Marcus Eisenhuth
has decided to go for a more unusual "fur bear-

ing animal" - a bee. And its "fur" is really some-
thing special! The fine little hair strands demand
a^gceat deal of precision with a paintbrush, scal-
pel, arid. electric eraser.

Buzz, buzz, buzz... | STEP BY SXEP //////A

EQUIPMENT -Buzz, buzz, buzz...

Surface: Doree Bristol Board

Additional materials: Schmincke Liner No. 2, graphite
pencil, scalpel, crepe tape, natural sponge, watercolor
crayons, electric eraser

Airbrushes: Iwata High Performance plus

Paints: Createx Illustration Colors, Schmincke Supra white

Template: Photo template from Yudy Sauw

Tracing

I Once I've cut my template into the desired size, I print out three copies
of it and then blacken it on the back with the graphite pencil. I then position
the printout on my painting surface and draw in all important contours as well
as all important details with the pencil. From the second printout, I cut out a
stencil with which I can cover up the branch and the bee. The third printout
then serves as my reference.

Stencil & background

Once I've got my stencil all set
up, I fasten it to the painting surface
with the aid of magnets. I now spray
on a non-diluted black in a very patchy
manner on the background. To the
right below, I use white and mist it into
the black, lightening up this area again,
thus provoking the blue shift here on
purpose. In conclusion, I color in the
white area with Dermatitis Tan.

01/16 E AIRBRUSH STEP BY STEP

7////// STEP BY STEP | Buzz, buzz, buzz...

Scraping in little hairs

J For this project, I wanted to
try out a painting surface that was
new to me, but had been recommend
to me many times. This is when I get
to test how the cardboard can be
worked on with the scalpel... I begin
doing this by scraping little fine hairs
into the head, the body armor, and
on the rear. But I'm not all that satis-
fied with the results and now I have to
think about how I'm going to present
all those fine little hairs, etc.

f\A Wooden textures

I now remove the stencil
and turn my attention to the branch.
Here I begin creating the first fissures
and recesses with a diluted Sepia. In
between, I dabble in a few textures
very carefully and irregularly with
the sponge. While doing this, I try to
keep the very long hairs on the legs
separate. In the broken off part of
the branch, I add the initial grains of
the wood with a red-brown colored
pencil.

Coloring in break points

J With my pencil, I've now
gone about separating the branch
and the bee from each other and then
cover up the branch again, in order to
lightly establish the legs with Sepia.
The stencil is moved away again right
after this. With a mixture of Burnt
Umber and a little yellow, I now add
more detail to the breakpoints. At this
juncture, you can very well see how
the watercolor pencil progresses to-
gether with the airbrush paint. Since
I'm working with two Iwata CM-SBs
and six cups, I can quickly change from
one paint to another. Simply pick up
the cup, rinse it out with water, and
mount the cup with the next paint.

AIRBRUSH STEP BY STEP 01/16 E

f%C Textures in breakpoints

w W The paint mixture of the breakpoints is made use of again here, but
I darken it up a bit now with Sepia and enhance the bark from the branch
even further. Every once and a while, I use the electric eraser with which I add
a whole bunch of little textures, which I then touch up with the airbrush. In
some areas, I spray on a bit more Burnt Umber to the bark to give everything
a bit more depth.

TRUE CANDY PERFORMANCE

Brilliant transparent colors for custom refinrshing and airbrushing.
GWUtyyO combine advanced water soluble, urethane resin technology
with crystal-clear dyes to create truly exceptional candy colors.

■ImI 111 laaaat Maieata Taqalta Yallata

fYy Bee fur

\ J # I now start working on the bee. I spray the darkest areas like the
legs, the lower side of the body from the rear side, and also the area towards
the head with Sepia. I now try to establish very little hairs with the hard
eraser pencil. I think they're looking far too weak for my taste and I'm find-
ing myself having to think long and hard how I can present everything in a
realistic manner. I first work on further developing the darker areas, but for
these hairs. I've tried a whole bunch of different paintbrushes... I ended up
getting the best result with Liner No. 2, which I filled with Supra white. This
allows me to paint very fine, opaque little hairs.

Nilitllt Hit Cirlli list Ultra flilit

ill Nlm (riii iairili

custom automotive paint

CREATEX GmbH

Kirchhoffstr. 7 I 24568 Kaltenkirchen
Phone +49(0)4191 88277 I info@createx.de

wwwxreatex.de

... EXPERTISE IN THE
FIELD OF AIRBRUSHING!

7////// STEP BY STEP | Buzz, buzz, buzz...

S\Q Dagger strokes

After adding in some dark
areas to the rear, I use the liner to
paint a whole bunch of small "dagger
strokes". I have to be very attentive
here and make sure I don't rub off the
painted hairs with my hand.

OQ Head

In the next step, I cover up
the eye to avoid overspray. Even in the
head area, all of the dark spots are
defined with Sepia and then the little
hairs are established with the afore-
mentioned liner.

Defining the colors

m^J I go back to using colored
pencils to give the rear, the back, and
the head some hard hairs with orange
and yellow. I then continue using Se-
pia. I spray some unfocussed spots
around in the back area. I also work
on the front leg and the antennae,
making them stick out more. In the
front leg, I also use a mixture of Burnt
Umber and Blood red, designing the
upper range of the little leg. I also use
the liner here to paint the finest little
hairs.

AIRBRUSH STEP BY STEP 01/16 E

Buzz, buzz, buzz... | STEP BY SXEP //////A

A A Eye structures

I Next, I once again take a lot of transparent base and a drop of yellow,
which I use to color in a few areas with light yellow. Some light blue colored
spots receive some yellow too, which leads to a color movement towards green.
I once again work on some spots in the eye with the soft eraser pencil to bring
out the structures once again. In the upper portion of the eyes, in the gray struc-
tures and also in the antennae, I make use of transparent violet to strengthen
up the coloring.

A A Wing

I I Using a Burnt Sienna and Se-
pia mixture, I divert my attention over
to the wing. I like to work here in a
bit of a shaky manner and very close
to the painting surface so as to define
the fine textures on the wings. In ad-
dition, I use the electric erasers to es-
tablish a few light points and create
textures that are deeper. Afterward, I
take the same paint mixture and spray
the progressions into the wing. I then
repeat this process of erasing and
spraying.

A Blue shift

I I use white, which I spray on

transparently to once again lighten
up some of the areas in the wing and
to get a shift to blue. The blue shift is
then processed transparently with ma-
genta so as to establish a soft purple
tint. After that, I add in a few more
textures to the wing with the electric
eraser.

A "3 Antenna & eye

I J I work on the antennas with
a mixture of orange and Cobalt blue,
which results in a neutral gray. I also
place this gray in the eye to spray the
initial structures. With the soft eraser
pencil, I break up the gray structures in
the eye again. Now I spray in Cerulean
blue, which I've mixed with a whole lot
of transparent base in order to create a
very light gleaming blue. Then I light-
en up things a bit here and there with
white.

01/16 E AIRBRUSH STEP BY STEP

7////// STEP BY STEP | Buzz, buzz, buzz...

^ r Coloring the fur

1^ Now I'm finally getting to the
bee's "fur". For this, I first use yellow.
I spray the body, the rear side, and
some areas on the head with this color
and then create a few little hairs using
the hard eraser pencil. I now take the
yellow and red to create a very light
orange hue with which I continue
working on the "fur" and then create
some more depth. I spray in a few gra-
dients, but also a few fine hairs.

1 £% F " na * correct " ons

I w To conclude, I make use of

Sepia to make a few concluding cor-
rections and place a bit more contrast
into everything.

MARCUS EISENHUTH

At the age of seven, Marcus Eisenhuth got his first airbrush tool for his birthday. Although
he really enjoyed painting and drawing, he still preferred spray paint over the airbrush back
at that time. Only 2007, after having spent roughly two decades in designing storefronts, the
34 year old finally discovered an interest in airbrush art that has never let him go. In 2011,
he started up as a part-time airbrusher, in 2015 he opened his own studio with class room in
Berlin. He is an active part of the German Airbrush Association as well as with artist and graffiti
accessory stores in and around Berlin, where he helps customers and employees become famil-
iar with the topic of airbrushing.

Q www.berlin-airbrush.de

AIRBRUSH STEP BY STEP 01/16 E

READERS' GALLERY

Our

Readers

Artworks

Andrea Pischel: Erdmann's World

Airbrush: Toricon

Paint: Molotow spray One4all

Base: Wooden panel, 2,50 x 1 m

Rob van Dijk: Reflections

Airbrush: Iwata Micron SB
Paint: Etac Marissa FC Colors
Base: Schoellers-
hammer 4 G, 60 x 40 cm

QHOW DO I ENTER?

Simply send photos of your artworks -

digital and at least 9 x 13 cm, with
300 dpi resolution - to: info@airbrush-
magazin.de or mail (also min. 9 x 13 cm
prints) to: newart media & design,
Wandsbeker Konigstr. 50, 22041 Ham-
burg, Germany. Photos sent by mail
cannot be returned.

Please make sure that you have the per-
sonal, as well as intellectual property
rights at your disposal.

Notice: Airbrush Step by Step does not
take any responsibility for misuse of per-
sonal or intellectual property rights asso-
ciated with the pictures and motifs pre-
sented. All of the published works have
been sent into the magazine voluntarily
and the artists received no monetary com-
pensation for them. Airbrush Step by Step
decides on the choice of motifs based on
purely aesthetic and publishing aspects.
There is no guarantee of entries being
published.

01/16 E AIRBRUSH STEP BY STEP

READERS' GALLERY

John Kiernan: The Blues

Airbrush: Iwata
Paint: Golden
Base: Undercoat
Polyflax Canvas

Maik Steidten: Cry of the Wilderness

Airbrush: Tiger Airbrush
Paint: Aero Color
Professional Schmincke
Base: Drawing board, A3

Rico Pahlig: A League of Their Own Roman Kainz:

Airbrush: Iwata CM-B
Paint: Schmincke
Base: Schoellers-
hammer 4G, 50 x 70 cm
www.aloha-airbrush.de

Maori Bike

Airbrush: Iwata HP-B
Paint: Golden
Airbush Colors
Base: Tank

AIRBRUSH STEP BY STEP 01/16 E

READERS' GALLERY

Claudia Bicking: Bear Sascha Kohler: Blue Moon

Airbrush: Iwata HP-B plus Airbrush: Harder &

Paint: Schmincke Steenbeck Evolution

Base: Cardboard, Paint: Schmincke Aerocolor

35 x 50 cm Base: Board, 100 x 100 cm

Frank Kochanskf: Galaxy of Antlia

Airbrush: Badger Modell 100 GM
Paint: Createx and Vallejo
Base: Water color, A3

Rob Schmitz: Custom Controller
Playstation 4

Airbrush: SATA Mini Jet,
H&S Silverline
Paint: Createx

Base: Controller PS4

01/16 E AIRBRUSH STEP BY STEP

READERS' GALLERY

Patrick Bruns: The Schmincke Aero Color Test Bird

Airbrush: Iwata HP-B Plus
Paint: Schmincke Aero Color

Base: Harder & Steenbeck Airbrush paper, 50 x 35 cm

Robert Haasdijk: Mr Cutypie

Airbrush: Iwata CM-SB / Iwata CM-C / Iwata BC-R
Base: Schoellershammer 4G, 72 x 50 cm
www.dutchairbrush.nl

Alejandro Macho: Elephant

Airbrush: Iwata CM-B
Paint: E’tac Marissa FX Colors, Schmincke
Base: Schoellershammer 4G, 36 x 51 cm
www.facebook.com/TriskelAerografia

AIRBRUSH STEP BY STEP 01/16 E

READERS' GALLERY

Tamara Fehr: Dangerous

Airbrush: Evolution AL
Paint: Createx
Base: Photo paper

Claudia Rijnvis: Cee art

Airbrush: H&S Infinity
Paint: Magic Color, Schmincke
Base: Canvas, 80 x 60 cm
www.c-a rtate I i e r. n I

Christof Groll: Skull

Airbrush: Iwata HP-CH
Paint: Schmincke + Lukas Acryl
Base: Stairs

www.crushed-colors.de

www.facebook.com/Crushed.Colors

Zvonko Straus: Water lily

Airbrush: Iwata HP-B,
Iwata Kustom CM, Infinity
Paint: Schmincke Aero Color
Base: Schoellers-
hammer 4G, 70 x 50 cm

01/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Squalo

Level

SQUALO

Angel Giraldez is a miniature painter for the tabletop game Infinity by Corvus
Belli. The world of Infinity is the future, where humans colonized foreign
planets and split up into different groups. One of them is PanOceania,
which features the unmanned Squalo series, a remote presence TAG
model in use by the Heavy Lancer Regiment. They know how to
support each other and can carve into enemy lines with terrify-
ing efficiency. The miniatures of the game are only
28 mm in size. Angel Giraldez turns them into
some realistic and detailled "mini sculptures".

EQUIPMENT -Squalo

Airbrush: Harder & Steenbeck Infinity CRplus
Surface: Infinity Tabletop miniature, 28 mm
Further materials: Brushes, tape, pigments

Paints: Vallejo Model Colors, Vallejo Premium Airbrush
Colors, Vallejo Game Air. Colors: Dark Prussian Blue, Blue
Green, Candy Racing Blue, Dark Grey, Cavalry Brown,
Orange Brown, Yellow Green, Deck Tan, Green, Orange,
Black, White, Primer Surface

I Base Color

I I I painted this miniature with
my method which is the combination
of airbrush and painbrush. Polished
effects, highlights and quick blurring
can be achieved by using the airbrush,
meanwhile the brush is used to paint
details. I primed the model by apply-
ing three thin layers of Primer Surface.
Using Dark Prussian Blue and my air-
brush, I applied the base color with
three thin layers.

f \ | Metal look

WfclThe first lighter color is a
mixture of 70% Dark Prussian Blue
and 30% Blue Green to render some
volume and metal look. After that, I
added more Blue Green to paint the
second highlight layer.

/\*3 I Highlights

I To get the third highlight I
added 20% of White to the previous
mixture.

01/16 E AIRBRUSH STEP BY STEP

I Grooves and edges

I With a thin brush I outlined
all the grooves of the armor using a
mixture of 50% Black and Dark Prus-
sian Blue. I outlined the edges of the
armor using White. Finally, I applied
some glazes with candy racing blue.

I Grey areas

I I painted all other parts of the
model with black that are not armor.
I added lighter tones to render the
volume. The first tone is a mixture of
70% black and 30% dark grey. After
that, I added more and more white to
lighten up further.

I G rooves ar, d edges

I I outlined all the grooves with
black and the edges of the armor using
White.

AIRBRUSH STEP BY STEP 01/16 E

Weapon /Chest

w # To provide the base color of the weapon and the inner part of the
chest I used Black. Once finished I highlighted them by adding successive layers
of White. I applied some glazes to the weapon using Dark Prussian Blue to visu-
ally separate the different parts. Then, I also applied some glazes with green
and orange to the inner areas with the paintbrush.

/\Q Magazine

wO I I placed some masking tape
and painted the magazine using a
mixture of 50% of Cavalry Brown and
Orange Brown. I applied thin layers
of Orange Brown to provide the first
highlight. To paint the second high-
light I added 80% white to the pre-
vious mixture. I then applied washes
of Sepia Ink and Cavalry Brown in the
shadow areas. To round off, I out-
lined the edges of the magazine with
White.

OQ I Lamps

I For the small lamps I first painted a white point and then applied the
base color with scarlett blood. For shading I applied glazes with ink red and hull
red and then painted a white highlight point.

01/16 E AIRBRUSH STEP BY STEP

1 0 1 Logo

u^J I For the logo on the shoulder
I painted a circle and lines with white
and then applied glazes with dark
Prussian blue.

^ 4k I Ground

■ III used Black to paint the base
color and then added Yellow Green. I
painted the first highlights with Deck
Tan and outlined all the grooves of
the base using Black. Then I outlined
the edges of this one using White.
The final step was to apply some pig-
ments to simulate a rusted and dirty
effect.

4k I Finished

I I Squalo is complete. Here you

can see his size compared to the air-
brush and paint bottles.

ANGEL GIRALDEZ

Angel Giraldez was born in 1983 in the Spanish city of Vigo. Since 2003, he's been working
as a leading miniature painter for the board game manufacturer Corvus Belli S.L.L. There he
developed the painting style of the "Infinity" series as a mixing technique out of airbrushes
and paintbrushes. Every year, he painted over 200 miniatures there. In 2007, he also opened his
side project business studio Giraldez in which he offered a painting service for over 30 differ-
ent customers such as Privateer Press, Studio Mcvey, and Cipher Studios. Since 2014, he's been
working exclusively for Corvus Belli. For the model construction paint manufacturer Acrylicos
Vallejos, he has also developed paint sets and step by steps. His first ever instruction manual
was released this year.

o studiogiraldez.blogspot.com.es Q www.facebook.com/StudioGiraldez

AIRBRUSH STEP BY STEP 01/16 E

Jason Hulfish | INTERVIEW

Home

Improvem

Interview with the TV home improvement
expert Jason Hulfish

The American artist Jason Hulfish from Tampa, Florida, specializes
in extraordinary home decoration and mural painting. He makes
dreams come true for both children and adults by designing
living spaces not only by airbrush, but with woodwork and
foam scultping. Not surprising, that his art is also very much in de-
mand by multiple TV shows. For this special purpose and thanks
to his airbrush device, he can realize his projects in only just one
week for TV requirements!

01/16 E AIRBRUSH STEP BY STEP

//Hi Jason! You have been featured at the TV show „ABC
Extreme Makeover Home edition" (EMHE). Can you tell
us about the projects? Was it only once or for a couple of
episodes?

JASON: I have been featured on ABC EMHE twice. The first
time I was asked to help create a treehouse loft bed with
an animal theme. The tree bed was constructed from
sculpted foam (which we did on-site during the build) and
coated with an industrial 2 part urethane coating. The walls
were painted to resemble a "free range" zoo that featured
rhinos, monkeys, zebras and elephants. The second proj-
ect was very similar, in concept. I was asked to create a
3D foam elephant and giraffes for a multi-use children's
playroom. The room featured an African safari theme with
wall to wall murals, a play loft area, and of course the 3D
animals to make the design come to life.

//How did you get this assignment?

JASON: I was contacted by EMHE's talent scouts who look
for companies or artisans who have the ability to help
them meet their design goals and needs in a very short
amount of time. EMHE is a very challenging show to work
on. Yes, the house is actually built in 7 Days! You are not

only working against a very aggressive timeline, but you
are battling whatever elements (rain, heat, snow.. etc)
working in make-shift tents and structures with limited re-
sources. ..all while designing for a room that isn't even built
yet. Very tough!

//Which other clients are you working for?

JASON: We are very fortunate to have celebrities, profes-
sional athletes, affluent business owners, corporations and
a variety of television shows as clients that employ or re-
quest our services.

//Are you a trained painter or even interior designer?
How have you come to specializing in home decoration?

JASON: I am a strictly self taught artist and designer. I be-
lieve art comes from a want or need to create within the
individual and is a skill that it is only improved upon by
constant practice and pushing your mental and technical
boundaries

//Are you involved in the whole decoration process from
the idea through wood working and modelling as well
as painting?

JASON: Yes, I am involved in all aspects of the project. I en-
joy the entire process from the concept to the installation.
I find that participating in the entire process allows me to
adapt or improve the design along the way and keep the
creative process a little more organic and fluid.

//How many people are involved? Do you have employ-
ees?

JASON: Currently I have 3 employees. They are mostly re-
sponsible for the carpentry work, sanding, and installa-
tion... but this type of work always requires a very versa-
tile employee willing to step outside of their comfort zone
and do whatever is needed to meet the common goal of
creating an amazing room for the client. The phrase "not
my job" is never spoken at our studio!

AIRBRUSH STEP BY STEP 01/16 E

Jason Hulfish | INTERVIEW //.

//How long does a full room decoration need?

JASON: Most rooms take about 2-4 months to complete.
There are many factors that dictate the timeline, and the
scope of work (size of project) determines the length
needed.

//Where do you get your ideas from? How do you start
when a customer orders a room decoration featuring a
special theme?

JASON: Typically I let an idea roll around in my head for
a couple days after meeting a client. The next step is I
begin doing research on the specific theme, usually by
searching the internet. I never research rooms or other
art when doing this. I find it best to let your own ideas
come to the forefront and design the room (or art piece)

without a bias or influence from someone else's design.
Since I consider most of my room designs "functional
art", I try to design and least one interesting piece for the
room then build the entire concept from there.

//Do you have favourite themes?

JASON: I don't really have a favorite theme... but I do en-
joy working on projects that challenge me as an artist and
designer. I like the challenge of creating something that
nobody has ever seen.

//What is most important or the most difficult aspect
about wall painting from your experience?

JASON: The most important and difficult part of decorat-
ing a wall or room is composition. How you arrange your

01/16 E AIRBRUSH STEP BY STEP

piece will determine the success of your creation... it is
also the aspect of the project that will make it uniquely
your own.

//What are the advantages of airbrushing at your
work?

JASON: Speed... speed... speed. Airbrushing when done
properly is the fastest way to achieve depth and dimension
in the shortest amount of time. Airbrushing is a process
of "layering" paint versus "blending" paint with a brush.
The airbrush will allow me to paint multiple objects with
the same color which dramatically reduces my working
time.

//When and how did you start airbrushing?

JASON: I started airbrushing in 1991. I was in my early
twenties at the time and used it to paint t-shirts to

sell for extra money. T-shirts are a great way to learn
airbrushing. They are inexpensive, a very forgiving
material to work on,... and frankly, even your worst
design as a beginner will still have some value to a friend
or family member who will want to encourage your
art.

//What airbrushes and paints do you use?

JASON: I only use Iwata airbrushes. I use the Iwata HP-BCS
for all my mural work and the Iwata HP-CS for the ma-
jority of my smaller projects. I also have every spray gun
from Anest Iwata from the LPH-80 to the Supernova... now
that I think about it, I think I have every airbrush too! I only
use Createx paints and have now for 20 plus years. I really
enjoy painting with the Illustration colors and recently
have been using their new Autoborne line for all my 3D
and structural pieces. The Autoborne line has been a real

AIRBRUSH STEP BY STEP 01/16 E

time saver since it is a sealer and base color paint in one
shot.

//Are you also doing free airbrushing art like on canvas
or other custom painting projects such as T-Shirts or mo-
tor bikes?

JASON: I do like to paint smaller projects... I have done a
few t-shirts over the years for fun, but recently I have been
painting skateboard decks. Most of which I give away to
charity or via social media contests. The skateboards are
a great way to work on my airbrushing skills and also
help break up the monotony of longer projects. I find a
quick unrelated painting or project helps free up the mind
and is a quick sense of accomplishment.

//What does your home look like? Colorfully painted or
blank walls?

JASON: I don't spend any time decorating my home with
my own art. I enjoy collecting art from many of my talented
friends I have met over the years. I find myself very critical
of my own creations, which is a both a blessing and a curse.
Its a curse because I am never satisfied, and a blessing be-
cause I am happy to sell it and get rid of it :)

//Can you already tell us a little about your upcoming
projects?

JASON: Sure. In January 2016, we will start our own web
series called "The Hulfish project". This will be my kind
of own "Makeover" format on the Internet. There will be
5 epicodes in the first season. Don't hesitate to watch the
trailer at Hulfish. co!

//Thank you, Jason, for this interesting insight into your
work and we wish you great success for your new project!

www.jfishart.com

01/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Little Red Riding Hood

Level

Little Red

Riding Hood

Is there anyone who isn't familiar with the fairy
tale of Little Red Riding Hood... The picture
idea of the little girl in the red cape has spooked
Rico Pahlig for many a day now. With his own

picture material, photographed with a model,
he went hard to work. In the phase of designing,
he is assisted by glazing paints that help estab-
lish a harmonious total package.

AIRBRUSH STEP BY STEP 01/1 6 E

Little Red Riding Hood | STEP BY STEP

EQUIPMENT - Little Red Riding Hood

Airbrushes: Iwata HP-C, Iwata CM-B

Paints: Schmincke Aero Color: Prussian blue. Sepia, deep
madder red, carmine, base yellow, light madder red, black,
base magenta, neutral gray, burnt Sienna, cyan, olive green

Surface: Schoellershammer 4G, 50 x 35 cm

Additional materials: Graphite pencil 9B, pencil HB, crepe
tape, drawing paper 190g/m 2 , eraser pencil, round paint-
brush Gr. 0

I Research & shooting

I I After a few sketches on the
topic of picture set-up, I had a guide-
line to accompany me through the
shooting with Little Red Riding Hood.
I gathered together the required re-
quisites. I was able to interest a friend
of mine to help me out as a model. We
did a photo shooting as well as a re-
strained processing of several pictures.
The established material was observed
and I decided to make use of a hori-
zontal format.

f \ I Template

Wfc The airbrush picture find
space on a piece of Schoellersham-
mer board sized 50x35 cm. In this
format, I also print the template on
normal paper. For transferring the
template, I rub the backside with a
graphite pencil 9B. The printout is
affixed to the painting board with
crepe tape. Using an HB pencil, the
required contours are added and with
that, transferred to the painting sur-
face.

I Loose mask

^ I Since I will be beginning with
the background for this work, it is nec-
essary to protect the drawing on the
painting board from the paint mist cor-
respondingly. For this, I create a loose
masking. The printout blackened with
graphite is now affixed to a piece of
sketch paper. The exterior contour is
spaced out a bit again. Since the lines
from the transfer to the painting board
are not yet visible on the template, I
achieve a 1-to-1 copy. I cut out the con-
tour that now results from this with a
scalpel and will use this as a stencil of
Little Red Riding Hood. With little rolled
up tape on the backside of the masking,
I fix these to the painting surface.

01/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Little Red Riding Hood

f\A I Background

T I I begin coloring in the entire
background with Prussian blue. For
this, I use the Iwata HP-C. This is per-
fect thanks to its big gravity flow cup
and the 0.3 mm nozzle, which allows
us to get close to the surface. I then fol-
low up on this with a layer of Sepia. I
repeat this until the desired tinge has
been achieved. To conclude, I put on
a heavy mixture of deep madder red/
Sepia. This gives me a background
that is almost black, which does not
however have a dead appearance.
The madder red harmonizes later with
the warm tones of the hood of the
cape and the facial color as well as the
brown hair. After the last application
of paint, the mask is removed. With the
"loose masking", small to hard edges
are established. The portrait melts
later into the background all that
much better.

r I While applying the bulk of the paint, I rub here and there over
J I the layers with a soft paper towel to remove loose fibers and pig-
ments. These could otherwise be the source of some unattractive white points
when all is said and done. But be careful with hard household paper towels:
This kind of paper can also cause scratches when used to rub too strongly.

I Hooc l °f t * ie ca P e

w w I For the red hood of the cape,
I start with a mixture of carmine and
base yellow 1-to-1. With this mixture, I
carefully create the highlights and the
progressions into darker tones. Now
and again, I bring out the highlights
more with an eraser. To better empha-
size the darker areas of the wrinkles,
I add some carmine into the mixture
and strengthen this by superimposing
the paint layers.

I Intensifying the red

\ J # I With a mixture of 4 portions
of light madder red, 1 portion of Se-
pia, and 1 portion of yellow, I continue
designing the hood of the cape and
intensify the darker areas of the wrin-
kles. In several layers, I create gradi-
ents and blend the paints into each
other. The highlights are again given
more emphasis with an eraser pencil.
On the rest of the paint, I add another
1-to-10 dilution of black drops. After-
ward, I color it in with a mixture of
scarlet, yellow, medium, and water.
I play around carefully until I get the
desired color hue.

AIRBRUSH STEP BY STEP 01/16 E

Little Red Riding Hood | STEP BY STEP

/ \Q I Further darkening

I With deep madder red, ma-
genta, and a shot of Sepia, I darken
the shady areas according to my gut
feeling. The highlights are really start-
ing to come to life now. Light areas
need a bit of dark in order to shine.

/\Q I Sketch of the face

I To avoid losing the draft of
the face and to maintain an overview,
I create the facial section as well as the
hair structure with highly diluted neu-
tral gray.

Af\\ Hair

m^J I With a mixture of 2 portions
Brasil, 2 portions magenta, 1 portion
of scarlet, and 4 portions of Sepia,
I create the hair structure. The dark
areas receive more depth due to the
addition of Sepia. You can keep or cre-
ate the structure here via an eraser
pencil. By leading the airbrush, I al-
ready create a basic structure. For
this, I remove the nozzle cap to get
closer to the painting board. Individ-
ual strains of hair are touched up or
enhanced with an eraser pencil. I of-
ten repeat the process of erasing and
adding lines.

^ ^ I Adjusting the hair color

I I I To get more color going in this picture, I mix together Burnt Sienna,
Sepia, and some magenta. The hair area will be covered over with this mixture.
If the magenta touch is too strong here, just add a drop of yellow to the mix-
ture. I'm admittedly using the photo for the structure, but am trying to control
the paints according to my own taste and am adding a drop of the mentioned
colors here and there. The highlights are brought out more with the eraser
pencil. There's a jump between the hard and the soft tips that are being used
here. I conduct this step without a stencil in a very careful manner. If you want
to, you can - similar to Step 03 - create a loose masking for the hood of the
cape and then protect this against paint mist. Since I want to deal with the hair
once again before finishing up, I don't conduct this step until the final result is
in question.

01/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Little Red Riding Hood

^ I Facial color

I fa I I don't have any recipe for
the skin tone. In the foreground, I mix
some magenta, yellow, cyan, neutral
gray, and black in an empty bottle
with distilled water in a 1-to-10 ratio.
The first layer and contouring is es-
tablished with magenta/yellow in a
3-to-2 ratio. To get more depth, I add
two drops of neutral gray to this mix-
ture. If you feel this is too watery, just
add some medium into the mixture.
By the way. I'm working here with an
air pressure between 0. 8-1.0 bar. This
is how I go about forming the face, by
further establishing the shady areas.

1 3 1 Lips

I J I The face seems a bit peculiar
at this juncture, because the lips and
eyes are missing. By enhancing and
finishing up the mouth. I'm heading
up to establishing the face. I start with
a mixture of light madder red and yel-
low in a 2-to-1 ratio, thinned with the
medium and water. I carefully create
the first layer per freehand. For the
structure in the lips, I use a sharpened
eraser pencil. The soft and hard side
is made use of here in turns. I repeat
this establishment of color and the en-
suing erasing until the desired tinge
is achieved. In the area of the mouth
corner, I add some neutral gray to the
paint mixture. This once again creates
more depth and keeps things from
getting dirty.

UJEyes

I T I Differing a bit from the tem-
plate, I make things a bit more gaudy.
I create the pupils with neutral gray.
I give the iris a circular gradient with
highly diluted yellow. To achieve a full
green, I now spray a highly thinned
out cyan onto a yellow base. That ini-
tially gives us a brash green. To tone
down everything a little bit, I create
the structure of the iris with olive
green. Below the upper edge of the
eyelid, I now apply neutral gray. This
gives the eye more plasticity. I use the
neutral gray to create the eyeball.

AIRBRUSH STEP BY STEP 01/16 E

Little Red Riding Hood | STEP BY STEP

^ r I Details

I J I The eyelashes and the eyebrows are created with a paintbrush and
diluted Sepia. By superimposing the layers of paint, I get the desired volume or
the desired color hue. The hair is also further formed in the step. Much like Step
11, I darken the deep areas with several layers of this color hue. For details, I
once again make use of the paintbrush.

*1 I Last steps

I I In this step, I go back to working on the hair. With the already mentioned
paints, I work on a number of hair strands. Those that haven't been finished around
the lower part of the hood of the cape are now enhanced. Now and again, I make

use of the paintbrush. The darkest areas
become even more emphasized. With
that. I'm referring to the hood of the
cape and the hair. I'm now pretty satis-
fied with the result. Even after having
slept a night and then reviewing the
work, I don't feel the need to change or
add anything. So to conclude, I seal the
picture with fixative for acrylic paints
from Schmincke right out of the can.

RICO PAHLIG

The 37 year old German Rico Pahlig discovered airbrushing some 20 years ago thanks to
his interest in model construction and painting. Despite interest in painting and especially
in works by Luis Royo, his big passion remained a thing yet undiscovered. It was first in
2010 that he received a course sponsored by his girlfriend - and that's when things really
took off. Already shortly after that, he began his airbrushing studies at the famous IBKK in
Bochum, something he'll soon be concluding. His pictures have already been exhibited at
various airbrushing shows.

Q www.aloha-airbrush.de

[brush

> BY STE „

if AIRBRUSH

IS STEP BY STEP

PAIRBRUSH

ll STEP BY OTtD

AIRBRUSH & FOOD

Starting with Airbrush - Build up your Knowledge

G Each bundle (4 issues) with more
than 25 how tos

Each Bundle
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^ J L

Between Sun, Rain, and Paint Mist:

The Fantasy World of Airbrush

Whether it was raining cats and dogs outside or the sun was
roasting away, it didn't matter one way or the other to the
approximately 60 airbrush artists who were at the Ice Arena
in Grefrath, Germany, on August 15th and 16th. In the best
of moods, the artists brushed, drew, chatted, and shopped all
day long. To be seen was photorealistic illustration and some
abstract art, from custom and bodypainting to tattoos -
everything the airbrusher's heart desires. How about taking a
look for yourself: Pictures say more than a thousand words...

Q www.airbrush-show.com Photos: Harald Rettich

AIRBRUSH STEP BY STEP 01/16 E

KEEP THE DATE!

Tim Slooten

at work

THE EUROPEAN AIRBRUSH SHOW

More than 60 international Artists at work

Car-Art, Bike-Art, Portrait-Art

Rosmalen calling Visitors to the
16 th Wonderworld of Airbrush

On January 1 0 th / 1 1 th # 2016, the yearly Wonderworld of Airbrush
will play host to 65 artists from throughout Belgium, France,
Germany, and Holland. With that, the Dutch event belongs
to the largest and longest lasting airbrush shows in Europe.
If you'd like to take a look beyond your normal airbrush bor-
ders, then you're at the right spot in Rosmalen: All of the artists
work right on site and love to do it while the visitors are watch-
ing them. There's a laid-back and open atmosphere as well as
a cheerful mixture of languages in Dutch, English, French, and
German. Those entering the hall will be a bit astonished at first
as there will be thousands of motorcycle parts spread out on
tables and the floor. Taking place at the same time on the
ground floor of the event center will be the "Oldtimerbeurs"
(oldtimer exhibition fair). The airbrush show takes place on the
second floor. There are surely more lovely locations, but the
quality and variety of the exhibited works will be unique. After
all, it f s no wonder that experienced pros like Marissa Oosterlee,
Frank Stahlberg or Peter Evers always make their way to Ros-
malen.

The Wonderworld of Airbrush will be opening its gates on both
days from 10 am to 5 pm. The entry fee is 15 EUR. Discount cou-
pons for 2.50 EUR are available at the event website.

www.airbrush-show.com

01/16 E AIRBRUSH STEP BY STEP

A shot of the beginner's course

Czech-German Friendship at the
International Prague Car Festival 2015

On August 29 th /30 th , 201 5, the 4th International Prague
Car Festival took place on the PVA Expo Prag Letnany ex-
hibition grounds. Tuners, collectors, and traders of cars
and automobile accessories all had the opportunity at
the event to see over 300 unique vehicles from all areas
and to inform themselves about tuning techniques and
tools.

Also in attendance was the company Createx as a supplier
for Iwata and Createx products. Together with the Czech
trading partner Toplac, the company organizes airbrush
workshops for beginners and pros alike. In his course for
pros, ASBS author and pro artist Marcus Eisenhuth from Ber-
lin showed how to present realistic fire in no time flat on an
aluminum sandwich panel. The results were sealed on site
with clear varnish upon conclusion of the course.

On tap Sunday was the beginner's course with the Prague-
based pro brusher Petr Sulc. This is where he created a shark
motif on airbrush paper. At his own stand, Petr also pre-
sented the impressive custom works from his "Color Shock
Airbrush" atelier. Toplac and Iwata also provided all sorts of
competent consultation. Personal support was provided by
Createx Germany's head boss Jorg Warzyceck. The Czech-
German cooperation functioned perfectly both on site and
in the workshops, allowing the weekend to come to a suc-
cessful conclusion for all involved.

AIRBRUSH STEP BY STEP 01/16 E

01/16 E AIRBRUSH STEP BY STEP

0***^ STEP BY STEP | Roger Hassler's Texture Effects - Part 6

Level KOnOO

The recreation of wood is, from a technical
standpoint, a form of illusion painting that goes
all the way back to the 14 th century. There are
dozens of possibilities for simulating wood just
as there are naturally numerous forms of wood

to be found in nature. In the following instruc-
tions, Roger Hassler will show you how to make
use of the loose stencil technique to present
wood.

Surface priming

Start off by priming your sur-
faces. As a basic hue, you should use a
light beige tone. Spray this on evenly.

/\ Drawing and cutting shapes

Draw wooden shapes on transparent paper. This is how you can determi-
ne precisely how the tree rings are to flow. Make use of photo material or availa-
ble planks for orientation. Then use a sharp scalpel to cut out the first inlaying
curves. Since this portion is unfolded to add color, it should remain there on the
lower edge of the transparent paper.

AIRBRUSH STEP BY STEP 01/16 E

//ENGLISH ISSUE

Roger Hassler's Texture Effects - Part 6 | STEP BY STEP

Initial paint

I Here you fold up the inner
part. Then first spray the beige brown
along the interior edges. When do-
ing this, the previously sprayed back-
ground paint should remain for the
most part in the middle. Afterward,
you spray again over this with a darker
brown so as to increase the contrast of
the shapes.

f\A Additional tree rings

Now cut out the next por-
tion of the stencil and unfold this
as well. Then first spray with a light
brown and then again with a darker
brown along the edges to make the
wood structure visible. You spray all
of the interior edges in order to re-
ceive the basis for wood contours.

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STEP BY STEP | Roger Hassler's Texture Effects - Part 6

Erase and scratch
structure

Using an eraser pencil and scalpel,
I now add perpendicular structures
("scratches"). This process interrupts
the smesth airbrush gradients and
makes the wood look more realistic.
Depending on the surface, an abrasive
fabric or a wire brush could be made
use at this juncture. With transparent
brown, you can also go about spraying
on additional shady areas and spots.
For this, take a look at your reference
material, do some of your own inter-
preting, and enhance your motif with
the airbrush.

Nooks and crannies

To elaborate on contour edg-
es and other structures, you should
use a brown colored pencil. If it would
help, don’t hesitate to make use of a
paint brush in order to add nooks and
crannies. Light lines and structures can
always be scratched in with a scalpel.
Here's wishing you a whole lot of fun
in playing around with various wood
interpretations.

AIRBRUSH STEP BY STEP 01/16 E

SHOPPING GUIDE

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SPRITZWERKJIT

* k tr im * *

Qjmiusfe Shin - Mm wine aider

The online shop in Austria
Unterfahrenbach 16
8451 Heimschuh, Austria
Phone +49 (0)664 2387220
office@spritzwerk.at
www.spritzwerk.at

The no.1 in Belgium for all your
Airbrush & Pinstriping materials.

Online shop in Dutch, French and English.

Toswos.be

Boekzitting 27B

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Phone +32 (0) 468 32 25 87

info@toswos.be

www.toswos.be

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Germany

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Producer

CREATEX

European Distributor for Createx
Colors, Wicked Colors, Auto Air Colors,
Airbrush supplies
Kirchhoffstr. 7

24568 Kaltenkirchen, Germany
Phone +49 (0)4191 88277
Fax +49 (0)4191 85912
info@createx.de
www.createx.de

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Norwegian supplier of everything you
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Jaerveien 151,

4321 Sandnes, Norway
Phone +47 4010 6525
info@scs-norway.com
www.scs-norway.com

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Obeeliks bvba
Tolstraat 73
2000 Antwerpen
Belgium

Tel/Fax +32 (0)3 289 00 56
info@obeeliks.com

The No.1 airbrush webshop in Denmark.
We supply the top products in Airbrush
and pinstriping products.

Iwata, Createx, One Shot, Kafka,

Harder & Steenbeck, Sparmax etc.

Peter Bruuns vej 55, 9210 Aalborg DK
Phone: +45 42333367
Mail: lnfo@airbrush-shop.dk
www.airbrush-shop.dk

Italy

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Germany

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United Kingdom

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^ Retailers

Retailers

evervthing 4 ^A

■BUILT

Specialty store for all airbrushing products
Repair + service
Workshops and seminars
Karntener Str. 30-32
45659 Recklinghausen
Phone +49 (0)2361 36035
info@crazy-scoot.de
www.crazy-scoot.de

The UK's Premier Supplier of Quality
Airbrush Equipment. Stockists of Harder
& Steenbeck and Sparmax Products
Unit C5/C6,The Hailey Centre
Holton Heath, Poole
Dorset, UK, BH16 6LT
Phone 01202 622579
office@everythingairbrush.com
www.everythingairbrush.com

obi

Airbrush-Pinstriping-Art
Mechelsesteenweg 1 1 9
2860 Sint-Katelijne-Waver, Belgium
Phone 0032(0) 15556197
Tuesday-Friday:

10.00-12.30 and 13.30-18.00
Saturday: 9.00-16.00
artobi@scarlet.be
www.artobi-airbrush.be

Anest Iwata Europe s.r.l.

European Distributor of Iwata,
Medea and Artool range of products,
and painting spray equipments
C.so Vigevano 46
101 55 Torino, Italy
Phone +39 (0)11 2274438
Fax +39 (0)11 851944
info@airbrush-iwata.com
www.airbrush-iwata.com

AIRBRUSH

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Netherlands

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Retailers

LiORhAllfti

For all your Airbrush & Pinstripe products
Dealer of House of Kolor, Iwata, One Shot etc.
Store and online shop in Dutch and English
Airbrush & Pinstripe workshops
Smithweg 1.23, 4462HC Goes
Phone +31 (0)11 3785147
Fax +31 (0)65 4797785
Lionart@zeelandnet.nl
www.Lion-Art.nl

Taiwan

Sorting by postal code

Producer

SPARMAX

Established in 1978

Air Compressors and Airbrushes

4B-03 Taipei World Trade Center

No.5 Sec.5 HsinYi Rd, Taipei,

Taiwan 1 101 1

Phone +886.2.2345.1868

Fax +886.2.2345.3162

lnfo@Sparmax.com.tw

www.Sparmaxair.com

01/16 E AIRBRUSH STEP BY STEP

PREVIEW | Imprint

O IMPRINT

Coming up in the next issue:

newart medien & design

Roger Hassler/Katja Hassler
Wandsbeker Konigstr. 50
22041 Hamburg
Germany

Phone +49 40 48501863

Fax +49 40 48501862

Mail info@airbrush-magazin.de

Web www.airbrush-magazin.de

ii www.facebook.com/airbrushstepbystep

Editor in Chief:

Roger Hassler (V.i.S.d.P.)

Editorial:

Katja Hassler

Contributors:

Marcus Eisenhuth, Angel Giraldez,

Jason Hulfish, Rico Pahlig, Andrea Panaro,
Clarisse Pico, Andre van Wyk

Graphics:

Roger Hassler, Patricia Peters

Photos (where not quoted):

Roger Hassler, Patricia Peters
pressphotos of the producers and artists

Translation:

Chapin Landvogt

Advertising & Marketing:

Katja Hassler, anzeigen@airbrush-magazin.de

Sales:

Diana Boge, vertrieb@newart.de

Airbrush Step by Step English edition is a

quarterly publication based on the German
original.

The publisher maintains the copyright for all
published contributions. Uncredited articles
do not necessarily reflect the opinions of the
editorial staff. Reproduction of this publication
in part or whole is allowed only with written
permission from the publisher. Product names
have been used without guarantee of their
application.

We claim no liability for unsolicited articles.
Upon receipt of a contribution intended for
publication, the author releases exclusive
publishing rights to the publisher until the
expiration of the copyright, unless otherwise
agreed upon. This also includes the right to
produce electronic versions and/or storage
within a database, as well as duplication and
distribution online and offline without addi-
tional compensation.

Authors and creators of texts sent in for pub-
lication can be held liable for copyright in-
fringement and breach of privacy laws.

Mexican Pin-up

An airbrush workshop in Mexico had
US artist Jonathan Pantaleon design a
typical American pin-up Mexican-style.
With Aztec ornaments, the Mexican
flag, and a sombrero, the hot-blooded
and smiling beauty decorates the up-
coming ASBS Cover.

The perfect eye

"The eye is the gateway to the soul", or
so they say. Australian Mitch Lowther
designs an eye that can be seen as
nothing less than "perfect", both in
reality and as something artistic.

Iron Man in Flames

The mask from Iron Man flares with
dazzling flames: Mexican artist Edgar
Guerrero has designed this motif with
PPG basecoat and Candys on a black
metal background. A firecracker for
every marvel fan!

Denim

An open waistband, a shiny thong spar-
kling out of it... Despite all that stimuli,
the field of wrinkles in the jeans proved
to be the biggest challenge in this mo-
tif for Frenchman Michel Mezzadri. It
was made possible by using various
erasers and scratching techniques.

Exclusive downloadcenter:

www.airbrush-magazine.net/

downloadcenter.php

User: Squalo | Pass: Wood

ATTENTION!

The next issue will be avail-
able from March 31, 2016!

AIRBRUSH STEP BY STEP 01/16 E

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BY STEP

bee illustration

Painting fur differently

FOR BEGINNERS

Painting fabric & wood

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